Зона аплоадеров » Музыка » Herbert Henck - Federico Mompou: Musica Callada (1995)
Herbert Henck - Federico Mompou: Musica Callada (1995)
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Herbert Henck - Federico Mompou: Musica Callada (1995)

FLAC (log,tracks+cue), Lossless | Label: ECM Records / ECM New Series | Classical, Piano | 01:05:33 | 160 Mb


Musica Callada: Book 1
1. I. Angelico 02:02
2. II. Lento 01:29
3. III. Placide 01:24
4. IV. Afflitto E Penoso 02:54
5. V. ([M.M.]?= 54) 02:44
6. VI. Lento 02:18
7. VII. Lento 02:46
8. VIII. Semplice 0:39
9. IX. Lento 02:58

Musica Callada: Book 2
10. X. Lento - Cantabile 01:21
11. XI. Allegretto 01:02
12. XII. Lento 01:47
13. XIII. Tranquilo - Tres Calme 01:54
14. XIV. Severo - Serieux 01:49
15. XV. Lento - Plaintif 02:00

Musica Callada: Book 3
17. XVII. Lento 02:09
18. XVIII. Luminoso 01:50
19. IXX. Tranquilo 02:20
20. XX. Calme 03:16
21. XXI. Lento 02:16

Musica Callada: Book 4
22. XXII. Molto Lento E Tranquilo 02:28
23. XXIII. Calme, Avec Clarte 02:09
24. XXIV. Moderato 01:56
25. XXV. ([M.M.]?= 100) 02:29
26. XXVI. Lento 02:43
27. XXVII. Lento Molto 03:13
28. XXVIII. Lento 04:11

Herbert Henck - Piano
Federico Mompou (1893-1987) - Composer

Federico Mompou (1893-1987) lived a long life filled with a quiet love for music. Although much has been said of his three decades spent in Paris, during which time he crossed paths with the likes of Debussy and Satie, it was in solitude that his crowning relic would be fashioned, already in a state of alluring dilapidation, and ultimately far from any of the geographic reference points that dotted his travels. Musica Callada came into existence between 1959 and 1967, and represents one of the Catalan composer's last major works.

The untranslatability of its title (most renderings will have it as "Silent Music," though certain nuances escape) is a key to its enigmatic construction, culled as it is from "Song between the Soul and the Beloved" of sixteenth-century Spanish Carmelite St. John of the Cross (1542-1591). This mystic poem was written as an imagined conversation between the Soul (Bride of Christ) and the Beloved (Christ the Spouse), describing in metaphor the human relationship with the transcendental word and its tangible effects. In the estimation of Nicky Losseff, "‘silent music' can only be a conceptual audition, perceived not through the fleshy senses but directly through the soul's inner ear, and as a concept it serves to demonstrate in a way that cannot be grasped at all-and yet cannot be grasped in any other way." Yet we would be mistaken in thinking of this as a paradox, Losseff goes on to say, for what we hear in Mompou is anything but contradictory. Silent music exists all around us. Not only does it reside in images, dreams, and in our heads, but quite simply in the musical score itself, where notes await the touch of a bow, a fingertip, a human breath to animate them. --Tyran Grillo

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